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That brief moment of excitement I feel each year when preparing to watch the NFL Draft doesn't linger for too long. I'm usually ready to channel surf or dip in and out of the room by the eighth pick. But this year I realized it's all in the way you approach it.
I spent much of the draft last night in a recliner with a laptop, smartphone and remote control nearby. First thing I realized was that ESPN has been ruining this event for me for years. It wasn't until I committed to the NFL Network's broadcast that I no longer had the urge to throw my television through a wall due to the rabid jaw-flapping.
Then I got caught up in the information overload world of Twitter and Facebook, reading and responding to online posts about fan's draft triumphs and despair, with plenty of doses of humor thrown in at each other's expense.


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Exhibition dates: 28th September – 11th November 2012
Installation photographs of the series Beneath the Roses (2003-2008) from the exhibition Gregory Crewdson: In A Lonely Place at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne
Photos: Dr Marcus Bunyan
Gregory Crewdson (American, b. 1962)
Untitled (Blue Period)
© Gregory Crewdson. Courtesy Gagosian Gallery
Details of one of Gregory Crewdson's works from the series Beneath the Roses (2003-2008)
Photos: Dr Marcus Bunyan
"The American middle-class nightmare: nothing is clean, orderly, idyllic, or romantic. In his perfectly staged, hyperrealistic tableaux, photographer Gregory Crewdson reveals the claustrophobic limbo and abyss of spiritual repression that is the typical suburb. Here, hushed-up violence, alienation, isolation, and emptiness are nothing new or unfamiliar, but rather part of the everyday neighbourhood experience."
Gregory Crewdson, 'In a Lonely Place', Abrams Publishing, New York, 2011
"I have always been fascinated by the poetic condition of twilight. By its transformative quality. Its power of turning the ordinary into something magical and otherworldly. My wish is for the narrative in the pictures to work within that circumstance. It is that sense of in-between-ness that interests me."
Gregory Crewdson
Downfall of a dream: (n)framing the enigma in Gregory Crewdson's
Beneath the Roses
After the excoriating, unreasonably subjective diatribe by Robert Nelson in The Age newspaper ("Unreal stills, unmoving images" Wednesday October 17 2012) I hope this piece of writing will offer greater insight into the work of this internationally renowned artist. With some reservations, I like Crewsdon's work, I like it a lot – as do the crowds of people flocking to the Centre for Contemporary Photography, Fitzroy to see the exhibition. Never have I seen so many people at the CCP looking at contemporary photography before and that can only be a good thing.
Let's get the basics out of the way first. The early series Fireflies are small silver gelatin photographs that capture "the tiny insects' transient moments of light as they illuminate the summer night." These are minor works that fail to transcend the ephemeral nature of photography, fail to light the imagination of the viewer when looking at these scenes of dusky desire and discontinuous lives. The series of beautiful photographs titled Sanctuary (2010) evidence the "ruin of the legendary Cinecittà studios, which was founded by Mussolini in the 1930s and is associated with the great Italian film director Federico Fellini." Wonderful photographs of doorways, temples, dilapidated stage sets with excellent use of soft miasmic light creating an atmosphere of de/generation (as though a half-remembered version of Rome had passed down through the generations) interfaced with contemporary Rome as backdrop. The digital prints show no strong specular highlights, no deep blacks but a series of transmutable grey and mid tones that add to the overall feeling of romantic ruin. It is a pity that these photographs are not printed as silver gelatin photographs, for they would have had much more depth of feeling than they presently possess. They just feel a little "thin" to me to sustain the weight of atmosphere required of them.
But it is the series Beneath the Roses (2003-2008) that has made Crewdson truly famous. Shot using a large format camera, Crewdson makes large-scale photographs of elaborate and meticulously staged tableaux, which have been described as "micro-epics" that probe the dark corners of the psyche. Working in the manner of a film director, he leads a production crew, which includes a director of photography, special effects and lighting teams, casting director and actors. He typically makes several exposures that he later digitally combines to produce the final image. Photographs in the series of "brief encounters" include external dioramas (shot in a down at heel Western Massachusetts town), where Crewdson shuts down streets and lights the whole scene; to interior dialogues where houses are built on sound stages and the artist can control every detail of the production. Influences on these works include, but are not limited to:
David Lynch (Blue Velvet, Twin Peaks), Alfred Hitchcock (Vertigo), Steven Spielberg (Close Encounters), the paintings of Edward Hopper, Diane Arbus (the detritus of her photographic interiors), film noir, psychoanalysis, American suburbia, the American dream, the photographs of Walker Evans, Cindy Sherman and surrealism. Concepts that you could link to the work include loneliness, alienation, apathy, resignation, mystery, contemplation and confusion, identity, desire, memory and imagination.
Now to the nuts and bolts of the matter.
Another major influence that I will add is that of the great Italian director Federico Fellini (La Dolce Vita – The Sweet Life) who shot most of that film on the sets at Cinecittà studios in Rome. It is perhaps no coincidence that Crewdson, on his first overseas film shoot, shot the series Sanctuary at the very same location. Crewdson's photographs in the series Beneath the Roses are an American form of "The Sweet Life." In 1961, the New York Times film critic Bosley Crowther praised Fellini's "brilliantly graphic estimation of a whole swath of society in sad decay and, eventually, a withering commentary on the tragedy of the over-civilized… Fellini is nothing if not fertile, fierce and urbane in calculating the social scene around him and packing it onto the screen. He has an uncanny eye for finding the offbeat and grotesque incident, the gross and bizarre occurrence that exposes a glaring irony. He has, too, a splendid sense of balance and a deliciously sardonic wit that not only guided his cameras but also affected the writing of the script. In sum, it is an awesome picture, licentious in content but moral and vastly sophisticated in its attitude and what it says."1 The same could equally be said of the Crewdson and his masterpieces in Beneath the Roses. Crewdson is in love with Fellini's gesture – of the uplifting of the characters and their simultaneous descent into "sweet" hedonism, debauchery and decadence using the metaphor of downfall (downfall links each scene in La Dolce Vita, that of a "downward spiral that Marcello sets in motion when descending the first of several staircases (including ladders) that open and close each major episode.")2 Crewdson's "spectacular apocalypses of social enervation"3 mimic Fellini's gestural flourishes becoming Crewdson's theme of America's downfall, America as a moral wasteland. Crewdson's is "an aesthetic of disparity" that builds up a cumulative impression on the viewer that finds resolution in an "overpowering sense of the disparity between what life has been or could be, and what it actually is."4
Crewdson's cinematic encounters are vast and pin sharp when seen in the flesh. No reproduction on the web can do their physical presence justice; it is the details that delight in these productions. You have to get up close and personal with the work. His dystopic landscapes are not narratives as such, not stills taken from a movie (for that implies an ongoing story) but open-ended constructions that allow the viewer to imagine the story for themselves. They do not so much evoke a narrative as invite the viewer to create one for themselves – they are an "invitation" to a narrative, one that explores the anxiety of the (American) imagination, an invitation to empathise with the dramas at play within contemporary environments. For me, Crewdson's extra ordinary photographs are a form of enigma (a puzzling or inexplicable occurrence or situation), the picture as master puzzle (where all the pieces fit perfectly together in stillness) that contains a riddle or hidden meaning. Clues to this reading can be found in one of the photographs from the series (Blue Period, see detail image, above) where Crewdson deliberately leaves the door of a bedside cupboard open to reveal a "Perfect PICTURE PUZZLE" box inside. The viewer has to really look into the image and understand the significance of this artefact.
Another reading that I have formulated is of the transience of space and time within Crewdson's series. In the disquieting, anonymous townscapes people look out from their porches (or the verandas are lit and empty), they abandon their cars or walk down desolate streets hardly ever looking directly out at the viewer. The photographs become sites of mystery and wonder hardly anchored (still precisely anchored?) in time and space. This disparity is emphasised in the interior dialogues. The viewer (exterior) looks at a framed doorway or window (exterior) looking into an scene (interior) where the walls are usually covered with floral wallpaper (interior / exterior) upon which hangs a framed image of a Monet-like landscape (exterior) (see detail image, above). Exterior, exterior, interior, interior / exterior, exterior. The trees of the landscape invade the home but are framed; exterior/framed, interior/mind. There is something mysterious going on here, some reflection of an inner state of mind.
In his visual mosaics Crewdson engages our relationship with time and space to challenge the trace of experience. His tableaux act as a kind of threshold or hinge of experience – between interior and exterior, viewer and photograph. His photographs are a form of monism in which two forces (interior / exterior) try to absorb each other but ultimately lead to a state of equilibrium. It is through this "play" that the context of the photographs and their relationship to each other and the viewer are "framed." This device emphasises the aesthetic as much as information and encourages the viewer to think about the relationship between the body, the world of which it is part and the dream-reason of time.5 This intertextual (n)framing (n meaning unspecified number in mathematics) encourages the viewer to explore the inbetween spaces in the non-narrative / meta-narrative,"and by leaps (intuitive leaps, poetic leaps, leaps of faith)"6 encourage escapism in the imagination of the viewer. It is up to us as viewers to seek the multiple, disparate significances of what is concealed in each photograph as "felt knowledge" (Walter Benjamin), recalling to mind the sensory data placed before our eyes, something that can be experienced but cannot be explained by man: "the single moment of the present amidst the transience of life and searching for some kind of eternal truth."7
Finally, in a more adverse reading of the photographs from the series Beneath the Roses, I must acknowledge the physically (not mentally) static nature of the images where every detail of the mise-en-scène is fully articulated and locked down: from the perfect trickle of blood running from the woman's vagina in Blue Period, to the reflections in mirrors, the detritus of living scattered on the bedroom floor, the dirty telephone, packed suitcases and keys in locks to the desolate looks of the participants that never engage with the viewer. Despite allusions of despair, in their efficacy (their static and certain world order), there is no real chthonic madness here, no real messiness of the capture of death, murder and the wastage of human life (famine, AIDS, cancer or the blood running over the pavement in one of Weegee's murder scenes for example). This is Fellini's gross and bizarre LITE. Americurbana "is being addressed with the same reserve and elegance that ensures that the institution – artistic, political, what you will – is upheld and never threatened. It is pre-eminently legible, it elicits guilt but not so much as to cause offence."8 I must also acknowledge the male-orientated viewpoint of the photographs, where men are seated, clothed, lazy or absent and all too often women are doing the washing or cooking, are naked and vulnerable. In their portrayal of (usually) half dressed or naked females the photographs evidence a particularly male view of the world, one that his little empathy or understanding of how a female actually lives in the world. For me this portrait of the feminine simply does not work. The male photographer maintains control (and power) by remaining resolutely (in)visible.
Overall this is a outstanding exhibition that thoroughly deserves that accolades it is receiving. Sitting in the gallery space for an hour and a half and soaking up the atmosphere of these magnificent works has been for me one of the art experiences of 2012. Make sure that you do not miss these mesmerising prophecies.
Dr Marcus Bunyan
- Crowther's review first published in The New York Times, April 20, 1961. In Fava and Vigano, 105 quoted in Anon. "La Dolce Vita," on Wikipedia Footnote 30 [Online] Cited 20/10/2012. en.wikipedia.org/wiki/La_Dolce_Vita
- Anon. "La Dolce Vita," on Wikipedia Footnote 30 [Online] Cited 20/10/2012. en.wikipedia.org/wiki/La_Dolce_Vita
- Sultanik, Aaron. Film, a Modern Art. Cranbury, N.J: Cornwall Books, 1986, p. 408
- Richardson, Robert. "Waste Lands: The Breakdown of Order," in Bondanella (ed.), Federico Fellini: Essays in Criticism, p. 111 quoted in Anon. "La Dolce Vita," on Wikipedia Footnote 30 [Online] Cited 20/10/2012. en.wikipedia.org/wiki/La_Dolce_Vita
- Bacon, Julie Louise. "Liquid Archive: On Ambivalence," in Liquid Archive. Melbourne: Monash University Museum of Art (MUMA), 2012, p. 119
- Kirshenblatt-Gimblett, Barbara. "The Museum – A Refuge for Utopian Thought," in Rüsen, Jörn; Fehr Michael, and Ramsbrock, Annelie (eds.). Die Unruhe der Kultur: Potentiale des Utopischen. Velbrück Wissenschaft, 2004. In German.
- Kataoka, Mami commenting on the work of Allan Kaprow. "Transient Encounters," in Broadsheet: Criticism, Theory, Art Vol 41.3, September 2012, p. 174
- Geczy, Adam. "A dish served lukewarm," in Broadsheet: Criticism, Theory, Art Vol 41.3, September 2012, p. 177
Many thankx to the artist, Gagosian Gallery and the Centre for Contemporary Photography for allowing me to publish the photographs in the posting. Special thankx to Director of the CCP Naomi Cass and Ms. James McKee from Gagosian Gallery for facilitating the availability of the media images. Please click on the photographs for a larger version of the image.
All photographs © Gregory Crewdson. Courtesy Gagosian Gallery.
Installation and detail photographs © Dr Marcus Bunyan
Gregory Crewdson (American, b. 1962)
Untitled (Maple Street)
© Gregory Crewdson. Courtesy Gagosian Gallery
Gregory Crewdson (American, b. 1962)
Untitled (Shane)
© Gregory Crewdson. Courtesy Gagosian Gallery
Gregory Crewdson (American, b. 1962)
Untitled (Brief Encounter)
© Gregory Crewdson. Courtesy Gagosian Gallery
Gregory Crewdson (American, b. 1962)
Untitled (Railway Children)
© Gregory Crewdson. Courtesy Gagosian Gallery
In a Lonely Place presents selections from three major series by Gregory Crewdson, Fireflies (1996), Beneath the Roses (2003-2008), Sanctuary (2010) and, presented for the first time, the video Field Notes (2009). The exhibition title comes from Nicholas Ray's 1950s film noir of the same name, one of many films that inspired Crewdson. In a Lonely Place is evocative of an underlying mood-a quiet feeling of alienation and loneliness that links the three series selected by curators Estelle Af Malmborg, Jens Erdman Rasmussen and Felix Hoffmann. In a Lonely Place presents the first comprehensive exhibition of Crewdson's work in Australia.
In Beneath the Roses, anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios. Crewdson's scenes are tangibly atmospheric: visually alluring and often deeply disquieting. Never anchored precisely in time or place, these and the other narratives of Beneath the Roses are located in the dystopic landscape of the anxious American imagination. Crewdson explores the American psyche and the dramas at play within quotidian environments.
In his most recent series, Sanctuary (2010), Crewdson has taken a new direction, shooting for the first time outside the US. During a trip to Rome, he visited the legendary Cinecittà studios, which was founded by Mussolini in the 1930s and is associated with the great Italian film director Federico Fellini. Crewdson discovered fragments of a past glory, with occasional unexpected views of the surrounding contemporary Roman suburbia. Cinecittà is a lonely place deserted by the film crews who once used the site to recreate settings of ancient Rome, medieval Italy and nineteenth-century New York.
In the intimate photographs of Fireflies, Crewdson portrays the mating ritual of fireflies at dusk, capturing the tiny insects' transient moments of light as they illuminate the summer night. Unlike the theatrical scale of the Beneath the Roses and Sanctuary series, Fireflies is a quiet meditation on the nature of light and desire, as the images reflect not only upon the fleeting movements of the insects in their intricate mating ritual, but upon the notion of photography itself, in capturing a single ephemeral moment.
Gregory Crewdson received a BA from the State University of New York, Purchase, New York in 1985 and an MFA in Photography from Yale School of Art, Yale University, New Haven, Connecticut in 1988. He has exhibited widely in the United States and Europe. He is Associate Professor and Director of Graduate Studies in Photography at the Yale School of Art, Yale University. Gregory Crewdson is represented by Gagosian Gallery and White Cube Gallery.
Press release from the Gagosian Gallery website
Installation photographs the series Sanctuary (2010) from the exhibition Gregory Crewdson: In A Lonely Place at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne
Photos: Dr Marcus Bunyan
Gregory Crewdson (American, b. 1962)
Untitled (1)
© Gregory Crewdson. Courtesy Gagosian Gallery
Gregory Crewdson (American, b. 1962)
Untitled (17)
© Gregory Crewdson. Courtesy Gagosian Gallery
Gregory Crewdson (American, b. 1962)
Untitled (8)
© Gregory Crewdson. Courtesy Gagosian Gallery
Gregory Crewdson (American, b. 1962)
Untitled (2)
© Gregory Crewdson. Courtesy Gagosian Gallery
Gregory Crewdson (American, b. 1962)
© Gregory Crewdson. Courtesy Gagosian Gallery
Gregory Crewdson – Close Up – Ovation
In this Ovation TV original special, acclaimed photographers Albert Maysles, Sylvia Plachy, Andrew Moore and Timothy Greenfield-Sanders discuss the impact their work has on their lives and on culture as a whole.
Gregory Crewdson is an American photographer who is best known for elaborately staged, surreal scenes of American homes and neighborhoods.
In this interview, acclaimed photographer, Gregory Crewdson shares with us insight into his techniques.
Centre for Contemporary Photography
404 George St, Fitzroy
Victoria 3065, Australia
Phone: + 61 3 9417 1549
Opening Hours:
Wednesday – Sunday 11am – 5pm
Centre for Contemporary Photography website

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The stuffed piquillo recipe in the book is found under the title veal-stuffed piquillo peppers. In the intro to that recipe, von Bremzen explains that the classic version usually involves a stuffing of seafood with bechamel sauce, and she suggests alternate ideas instead of veal. I went the seafood route and made a shrimp stuffing. I chopped some shrimp, sauteed them in olive oil with a little chopped garlic, and then added a bechamel. Once cool, that mixture was stuffed into the piquillos, and the peppers were chilled in the refrigerator to set. Meanwhile, a sauce was made by sauteing finely chopped onion and garlic in olive oil, and to that, chopped piquillos and grated tomato were added. I'd never grated a tomato before, but you simply cut it in half, grate it on a box grater, and discard the skin. After the sauce with the tomato added had reduced, sweet and hot paprika and white wine were added. Last, a little cream enriched the sauce. Some of this sauce went into the bottom of a baking dish, the stuffed peppers were placed on top, and the remaining sauce was poured over the peppers. I should explain, an optional step in this recipe is to bread and fry the stuffed piquillos just before placing them in the baking dish with the sauce. I skipped that option and baked the naked, stuffed peppers in the sauce until warm. These little guys were delightful with chunks of shrimp in the smooth bechamel and the paprika and cream in the sauce. This was a plate and fork kind of tapa, and it was hands-down our favorite if we had to pick only one.
The olive spread was next. I already have a favorite black olive tapenade, but I wanted to try this one just to see how it compared. I was intrigued by the use of anchovy and a hard-cooked egg yolk here. The entire mixture included black olives, anchovies, capers, garlic, one cooked egg yolk, rum, yes rum, mustard, and olive oil. This was a rich and flavorful olive spread and the anchovies and rum gave it spunk. I like a good bit of parsley in an olive spread, so I sprinkled some on top. I already declared the stuffed piquillos our favorite item of the night, but there were no disappointments here. I'll be making all of these again, and from now on whether I'm making this olive spread or my old stand-by, it will have some rum in it.


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Before the hugely popular TV show of the 1950s and 60s starring Raymond Burr and Barbara Hale (not to mention the long running reunion TV-movies they embarked on two decades later), the cases of Erle Stanley Gardner's ultra-sharp defence attorney Perry Mason were adapted for the cinema by Warner Bros. These initially starred Warren William, who at the time specialised in playing fast-talking lawyers, with Ricardo Cortez and Donald Woods taking over for the final two instalments. All six have just been made available on a two disc DVD set, so this seemed like a good opportunity to celebrate these stylish and fast-paced legal thrillers previously unavailable on home video.
The following overview is offered as part of the Tuesday's Overlooked Film meme hosted by Todd Mason over at his Sweet Freedom blog and you should head over there to see the other selected titles.
"I'm a specialist on getting people out of trouble" – Perry Mason in The Case of the Velvet Claws (1933)
Erle Stanley Gardner (1889-1970) was a lawyer of enormous energy with many outside interests, including writing fiction (which he undertook under several names as well as his own). After 20 years in the legal profession and nearly as long as a pulp writer, he created his Perry Mason alter ego. Dictating novels and short stories at a prodigious rate, he gave up his legal practice, churned out dozens and dozens of books and became closely involved in radio and TV adaptations of the Mason stories, probably because he wasn't too crazy about the movies made at Warners.
In these zippy thrillers Perry is much more smooth and upmarket than he was in the fairly hardboiled books Gardner was writing at the time for starters – also, the films quite often spent little or no time in the courtroom, which must have rankled a bit too, though the first Mason book (The Case of the Velvet Claws) is also unusual in the canon for not having any courtroom scenes. Fidelity aside, the movies are great fun though – here's a quick rundown:
The Case of the Howling Dog
The series begins with what was then the newest tale – indeed, it was so new that it had only been serialised in magazine form and not yet published between hard covers. The plot begins with an unlikely case of canine domestic disturbance but soon involves murder and what was a peculiar recurrent plot motif in Gardner's early Mason tales – a marriage that may or may not be legally binding. Warren William, who had just taken over playing Philo Vance from William Powell, makes a great debut as Mason driving this slick entertainment, notable for sprightly direction from Alan Crosland with some very mobile camerawork; the presence of Mary Astor who keeps us guessing as to whether she is the killer or not; and the complete absence of a musical score (not uncommon in early talkies). Long-faced comic foil Allen Jenkins here plays the cop being thwarted by Perry's antics – in the next film he would be much more suitably recast in the Paul Drake role. In this film Della Street is played by Helen Trenholme.
The Case of the Curious Bride
Back in April I reviewed the second film in the series, The Case of the Curious Bride, mainly because it was directed by the great Michael Curtiz and co-starred a young Errol Flynn. It remains my favourite of the series though all of the films have something to offer. Claire Dodd is a very spunky Della in this film and would return to the role in William's series swansong, The Case of the Velvet Claws.
The Case of the Lucky Legs
In this film Della is played by Genevieve Tobin though thankfully Allen Jenkins remains as Drake in this tale of a beauty contest fraud. Director Archie Mayo provides plenty of zip to what may be the most overtly comic entry of the series (it was promoted as a 'rib-tickling Warner' hit). This would be the last of the series to be afforded A status by the studio …
The Case of the Velvet Claws
Belatedly Warners got round to filming Mason's actual first case, though with its anti feminist slant removed. They had started the series with high hopes and the first three pictures are all 8-reel A-pictures with directors and casts taken from the top-tier of the studio rank and file. But on the evidence of The Case of the Velvet Claws it seems that the returns must have been a proved disappointing as the films got downgraded to B-movies. Running times got cut down by about 15 minutes each to last about an hour or so on the bottom half of the double bill. This was the last to star Warren William as Mason and here he is reunited with Claire Dodd as Della, which is very appropriate because this is the film in which Perry and Della actually get married! Eddie Acuff however takes over from Allen Jenkins as Drake.
The Case of the Black Cat
In the kind of Hollywood reboot now more familiar from the revamps of the Spiderman and Batman franchises et al, in this film Perry and Della are single again and are now played respectively by Ricardo Cortez, the screen's first Sam Spade, and June Travis, with Garry Owen as Drake. This film marked a sad end to the career of director Alan Crosland, who began production on the film but after several days of filming was badly injured in a car crash on 10 July 1936, dying six days later (William C. McGann completed the film). This entry was actually based on Gardner's 1935 novel The Case of the Caretaker's Cat but had the title changed to coincide with the film's Halloween release on 31 October 1936.
The Case of the Stuttering Bishop
Perry and Della get new faces again for the sixth and final entry in the series, with Donald Woods, who in Curious Bride had played the weasel second husband of Rhoda, as the lawyer and the elegant Ann Dvorak as his faithful secretary. Joseph Crehan was the new Drake for a case involving a complex inheritance and inevitably murder too. A bit of a soft finish for the series perhaps, but isn't that usually the way?
Strictly speaking, another Mason novel was filmed by the studio but you would be forgiven for not knowing about it as the belated adaptation of 'The Case of the Dangerous Dowager' became Granny Get Your Gun (1940), a vehicle for May Robson with a septuagenarian Harry Davenport co-starring as a lawyer named Nathaniel 'Nate' Paulson, which I suppose is a bit like 'Perry Mason' only with the letters all shuffled around. Understandably, this film has not been included in the new DVD set!
For details on the new DVD, visit the Warner Archive site at: www.wbshop.com/


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June 28th, 2010
Michelangelo hid brain image in chapel, scientists say
Some of Michelangelo's best known works may bear hidden messages suggesting that the human brain is among God's greatest creations, scientists say.
The great Italian Renaissance artist dissected cadavers to familiarize himself with the human body, so he could better paint it. And, according to a new analysis, he included a representation of the brainstem in his representation of God on the ceiling of the Sistine Chapel, which he painted from 1508 to 1512.
Neurosurgeons Dr. Rafael Tamargo and Ian Suk of Johns Hopkins University looked closely at Michelangelo's painting "Separation of Light From Darkness," which depicts the beginning of the universe. They found that the neck of God in this painting appears to contain the human brainstem.
"He recognized that the brain was an important structure, and I think he included it in the creation of the universe because he recognized that this is one of the most magnificent things that God had created," Tamargo said.
The brainstem is the most primitive part of the brain, through which all signals traveling to and from the brain must pass, Tamargo said.
In the image above, on the left, you can see a comparison between the neck of God in the painting and a real brain stem. On the right, notice the different angles of light on the figure, which was uncommon for Michelangelo.
It was not uncommon in the Renaissance for artists to do dissections for the purpose of creating more accurate works, he said. Leonardo da Vinci, 23 years older than Michelangelo, documented his brain dissections and did experiments on the brainstem.
The neck of the figure of God in Michelangelo's painting, zoomed in above in image G, is abnormal anatomically. This is curious because the artist's other works show a fine understanding of what the neck looks like, as shown in images A-D above (E is by Leonardo, F is by Raphael). This suggests that Michelangelo wasn't "just having a bad day," Tamargo said.
Tamargo and colleagues are not the first to propose that Michelangelo hid brain anatomy in his paintings. An article in the Journal of the American Medical Association in 1990 by Dr. Frank Lynn Meshberger suggested that the Renaissance master's "Creation of Adam," another fresco from the Sistine Chapel, depicts the human brain.
Michelangelo probably didn't know the functions of the various components of the brain, but he understood it was an important structure, Tamargo said.
"Separation of Light From Darkness," located above the altar of the Sistine Chapel, is too high for people of Michelangelo's time to have been able to see details such as the brainstem, and telescopes did not yet exist. But the artist probably knew that someday, someone would notice, Tamargo said.
"I think he put a message there for the future, to let people know that he knew anatomy, and probably to enhance the meaning of that fresco," Tamargo said.
Check out the full study online here.
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Get a behind-the-scenes look at the latest stories from CNN Chief Medical Correspondent, Dr. Sanjay Gupta, Senior Medical Correspondent Elizabeth Cohen and the CNN Medical Unit producers. They'll share news and views on health and medical trends - info that will help you take better care of yourself and the people you love.


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The Music Man Actress Susan Luckey Dead at 74
TV Guide
Susan Luckey, best known for playing Mayor Shinn's daughter in The Music Man, died Thursday, TMZ.com reports. She was 74.
See other celebrities we've lost this year
Luckey (real name Suzanne Douglas) died from natural causes, according to her daughter Shayna Reynolds, who said her mother had not been suffering from any long-term illnesses at the time of her death. Luckey was cremated and laid to rest with other family members.
Besides her role in The Music Man, Luckey also starred opposite Shirley Jones in Carousel.
Check out video of Luckey in Carousel:
View original The Music Man Actress Susan Luckey Dead at 74 at TVGuide.com
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We really appreciate Fareed Zaharia's show, particularly the current Coronavirus information. However we are Canadian, his show has a lot of followers here. When he uses reference data and talks about conditions, it would be prudent and helpful if he included us in his research and commentary. Thanks https://travelumrohaji.com
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Publication: Poverty from Space: Using High-Resolution Satellite Imagery for Estimating Economic Well-Being
Engstrom, Ryan
Hersh, Jonathan
Newhouse, David
Can features extracted from high spatial resolution satellite imagery accurately estimate poverty and economic well-being? This paper investigates this question by extracting object and texture features from satellite images of Sri Lanka, which are used to estimate poverty rates and average log consumption for 1,291 administrative units (Grama Niladhari divisions). The features that were extracted include the number and density of buildings, prevalence of shadows, number of cars, density and length of roads, type of agriculture, roof material, and a suite of texture and spectral features calculated using a nonoverlapping box approach. A simple linear regression model, using only these inputs as explanatory variables, explains nearly 60 percent of poverty headcount rates and average log consumption. In comparison, models built using night-time lights explain only 15 percent of the variation in poverty or income. The predictions remain accurate when restricting the sample to poorer Gram Niladhari divisions. Two sample applications, extrapolating predictions into adjacent areas and estimating local area poverty using an artificially reduced census, confirm the out-of-sample predictive capabilities.
"Engstrom, Ryan; Hersh, Jonathan; Newhouse, David. 2017. Poverty from Space; Poverty from Space: Using High-Resolution Satellite Imagery for Estimating Economic Well-Being : Using High-Resolution Satellite Imagery for Estimating Economic Well-Being. Policy Research Working Paper;No. 8284. © World Bank, Washington, DC. http://openknowledge.worldbank.org/handle/10986/29075?locale-attribute=en License: CC BY 3.0 IGO."
Report Series
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PublicationTaxation and Capital Structure : Evidence from a Transition Economy(World Bank, Washington, DC, 2008-10)The authors examine the effects of taxation on financing policy using the corporate tax reform in 2001 in Croatia as a natural experiment. Since the extant literature on tax effects on capital structure studies listed firms in developed countries, it is worth investigating whether the same results apply to privately-held, small and medium size firms in transition economies. The findings provide significant evidence that lower taxes have affected the capital structure of Croatian firms, resulting in increased equity levels and decreased long-term debt levels. The authors also find that smaller and more profitable firms were more likely to reduce their debt levels. These findings are consistent with the trade-off theory of capital structure, which suggests that lower taxes decrease the incentive to hold debt due to decreasing interest tax deductibility.
PublicationThe Market for Retirement Products in Australia(World Bank, Washington, DC, 2008-10)Australia introduced a mandatory retirement savings scheme in 1992. This built on pre-existing voluntary occupational plans. The new scheme has been very successful in expanding coverage and mobilizing large financial savings that are equal to close to 100 percent of GDP. However, Australia does not impose restrictions on payout options. The payout phase used to be dominated by lump sum withdrawals, which accounted for 80 percent of benefit payments as recently as 2002. But pension payments increased in recent years and now represent 45 percent of total payments. The vast majority of these pension payments take the form of term annuities and allocated annuities. The latter are similar to phased withdrawals in Chile but run for fixed terms of up to 25 years rather than for lifetime terms. The demand for life annuities and lifetime phased withdrawals is very limited. The paper discusses the factors that have shaped the pattern of demand for retirement products, including the availability of the universal age pension and the effect of clawback provisions, the impact of the high level of home ownership, and the widespread preference of retiring workers for reliance on self-annuitization. The paper also reviews the prudential regulation of superannuation funds and life insurance companies.
PublicationThe Market for Retirement Products in Sweden(World Bank, Washington, DC, 2008-10)Far-reaching changes in the regulation of financial markets and the organization of public pensions in the 1980s and 1990s transformed the landscape for retirement products in Sweden. First, banking and insurance were extensively deregulated in the 1980s, while the securities markets experienced major expansion. Insurance received a large boost from the authorization of unit-linked products in the early 1990s. Second, the public pension system was reformed. Survivor benefits for widows were eliminated from the public pillar in the late 1980s, leading to a large increase in demand for term life insurance. The old defined benefit public pension system was replaced by a notional or nonfinancial defined contribution (NDC) scheme, while a funded defined contribution (FDC) component was also created in the public pillar. The four occupational pension funds that cover the majority of Swedish workers were also converted into FDC schemes. This paper reviews the implications of these changes for the Swedish annuity market. It discusses the regulation of payout options in Sweden, highlighting the compulsory use of life annuities in the public pillar and the preference for term annuities in the occupational funds. It examines the performance of providers of retirement products, including the PPM, and reviews the increasing focus on risk-based regulation and supervision. The paper also emphasizes Sweden's success in moving in the direction of increased funding and privatization of old age insurance, while maintaining its basic character as a highly developed welfare state.
PublicationExport Surges : The Power of a Competitive Currency(World Bank, Washington, DC, 2008-10)How can countries stimulate and sustain strong export growth? To answer this question, the authors examine 92 episodes of export surges, defined as significant increases in manufacturing export growth that are sustained for at least seven years. They find that export surges in developing countries tend to be preceded by a large real depreciation-which leaves the exchange rate significantly undervalued-and a reduction in exchange rate volatility. In contrast, in developed countries, the role of the exchange rate is less pronounced. The authors examine why the exchange rate is so important in developing countries and find that the depreciation leads to a significant reallocation of resources in the export sector. In particular, depreciation generates more entries into new export products and new markets, and the percentage of new entries that fail after one year declines. These new products and new markets are important, accounting for 25 percent of export growth during the surge in developing countries. The authors argue that maintaining a competitive currency leads firms to expand the product and market space for exports, inducing a large reorientation of the tradable sector.
PublicationPolitical Alternation as a Restraint on Investing in Influence : Evidence from the Post-Communist Transition(World Bank, Washington, DC, 2008-10)The authors develop and implement a method for measuring the frequency of changes in power among distinct leaders and ideologically distinct parties that is comparable across political systems. The authors find that more frequent alternation in power is associated with the emergence of better governance in post communist countries. The results are consistent with the hypothesis that firms seek durable protection from the state, which implies that expected political alternation is relevant to the decision whether to invest in influence with the governing party or, alternatively, to demand institutions that apply predictable rules, with equality of treatment, regardless of the party in power.


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Got Soap? A Volunteer in Peru put together this great tutorial on how to build your own soap dispenser.
Materials : 2 liter soda bottle, 3 liter soda bottle, 1 "closet bolt" or other bolt (1/4"x 2"), 5 of ¼" nuts, 2 rubber washers, Africano contact glue, screw(s) to attach holder to wall. Drill & bit.
Remove bottle labels and cut off both bottle bottoms. Cut off top of the 3 L bottle, about 2" from cap, so that it creates a 2" diameter hole.
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Has Voyager 1 reached interstellar space or not? That question was first asked about a year ago, when the probe first started seeing a drop-off in the levels of energetic particles emitted by the Sun, accompanied by a rise in cosmic rays from interstellar space. But the models of the Solar System's edge had suggested that there should be a corresponding change in the magnetic field's orientation as the Sun's field is overwhelmed by that of the galaxy as a whole. And Voyager 1 is seeing nothing of the sort; even as particle levels flip-flopped several times, the magnetic field remained largely stable.
There have been a couple interpretations of this. The scientists who first announced the results argued that the data showed evidence that a new, previously unpredicted region exists at the edge of the Solar System and that we would have to wait before we would be able to sample the interstellar magnetic field. But later that year, a different team argued that the probe was in interstellar space. It's just that interstellar space wasn't looking like we expected.
Now, a new paper has come out that revisits the cause of the problems: the models of the magnetic fields that exist where there's a complex interaction between two magnetic fields and two different flows of charged particles colliding. Earlier models of this region had been the ones that suggested the orientation of the magnetic field would change as the interstellar field wrapped gently around the one generated by our Sun. The new one, however, suggests that the interstellar field lines run directly up against the ones from our Sun, at which point they execute a nearly right-angled turn, leaving the two sets to travel parallel.
In this model, there is no significant change in orientation to be seen as Voyager moves across the last of the Sun's magnetic field lines and into the first of the interstellar ones. However, the model shows that the changes in the source of particles occurs during this transition. Since Voyager 1 has experienced those changes, it's probably in the interstellar medium.
The authors admit that their model has some important limitations—one big example is that the simulation is only two-dimensional, which is fairly limiting. And NASA was quick to issue a press release pointing out that this shouldn't be viewed as a conclusive answer, but more as a contribution to a larger debate among scientists.
More important than the suggestions made by some squabbling scientists, however, is what this illustrates about the process of science. Before Voyager got there, we'd done the work to make a physically plausible model of what the edge of the Solar System should look like. But when it actually arrived, we found out that our models were clearly wrong. But Voyager hasn't said a thing about what, specifically, was wrong about them.
There seem to be two different schools of thought developing. One, exemplified by this new paper, wants to take the data at face value and come up with a new model that reflects what Voyager is seeing right now. A second seems to think that the older models may still largely be right, but not detailed enough. They capture the rough outlines of the edge of the Solar System, but not at a high enough resolution to see the weird behavior right at the edge. If Voyager hadn't actually wandered into it, we wouldn't have known it was there. Given a bit more time, Voyager will wander out, and we'll see what we've always expected and can just tweak our existing models a bit to have everything match the data.
The question now is how much time scientists are willing to give Voyager and whether they can get more detailed, three-dimensional models working in the meantime. In all probability, there will be a few more papers, along with some dueling press releases, before this is sorted out.
The Astrophysical Journal Letters, 2013. DOI: 10.1088/2041-8205/774/1/L8 (About DOIs).


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Beyonce, Clarkson to perform at Obama inauguration
WASHINGTON (AP) — President Barack Obama can expect some sweet serenades at his inauguration ceremony, with hit-makers Beyonce, Kelly Clarkson and James Taylor on tap to perform some of the country's most patriotic songs.
From Hollywood to Music Row, celebrities have been a staple of Obama's candidacy and presidency, so it was with little surprise that some of the biggest names in entertainment are helping him celebrate his Jan. 21 swearing-in.
Planners said Wednesday that Obama picked Beyonce to sing the national anthem, Clarkson to perform "My Country 'Tis of Thee" and Taylor to sing "America the Beautiful."
Beyonce and Taylor have been devoted Obama supporters. Beyonce sang the Etta James classic "At Last" for the president and first lady's dance at the inaugural balls four years ago and hosted a $4 million fundraiser for his re-election. Taylor sang at the White House in Obama's first term and at the Democratic National Convention last summer.
Clarkson, however, once said she was a fan of Republican presidential candidate Ron Paul for the 2012 race, although she said she voted Obama in 2008. She said on Twitter Wednesday that she is "excited & honored" to be performing at the inaugural.
Richard Blanco, the son of Cuban exiles, is the 2013 inaugural poet, joining a select group that includes Maya Angelou and the late Robert Frost. Blanco's works explore his family's exile from Cuba and "the intersection of his cultural identities as a Cuban-American gay man," inauguration planners announced. They said Blanco, 44, will be the youngest-ever inaugural poet and the first Hispanic or gay to recite a poem at the ceremonial swearing-in.
"His contributions to the fields of poetry and the arts have already paved a path forward for future generations of writers," Obama said in a statement. "Richard's writing will be wonderfully fitting for an inaugural that will celebrate the strength of the American people and our nation's great diversity."
Obama also gave a nod to the diversity of styles and backgrounds of the musical performers, saying that "their music is often at the heart of the American story and speaks to folks across the country."
Blanco said in the statement that he was "brimming over with excitement, awe, and gratitude" at being selected.
"In many ways, this is the very 'stuff' of the American Dream, which underlies so much of my work and my life's story — America's story, really," he said.
Paperbacks of Blanco's books are out of stock on Amazon.com. They, along with virtually all works of poetry, are not available as e-books because publishers have not figured out how to format poetry properly for a digital device, so the only way to buy them is to find a used print copy.
The announcements are part of the specifics beginning to emerge for the festivities planned over the Martin Luther King Jr. holiday weekend. The swearing-in ceremony is scheduled for Monday, Jan. 21, because inaugurations aren't traditionally held on Sundays. The president will have a private swearing-in ceremony at the White House at noon on Jan. 20, the time the Constitution says his second term begins.
The official celebration will include the swearing-in on the Capitol's west front, followed by a luncheon inside the building's Statuary Hall for 200 including congressional leaders, Cabinet members and Supreme Court justices. Planners said the lunch menu will feature steamed lobster, New England chowder, hickory grilled bison with wild huckleberry reduction and red potato horseradish cake and a dessert of apple pie, ice cream, cheese and honey.
Democratic Sen. Chuck Schumer of New York, chairman of the congressional committee overseeing events at the Capitol, said wines will be served with each course from his home state. Planners say they are decorating the tables with orange flowers in silver cachepots, "a geometric patterned tablecloth that picks up the copper and bronze tones of Statuary Hall," while the head table will be draped in blue velvet.
Schumer's committee plans to present Obama with a custom hand-cut crystal Lenox vase with an etching of the White House. Vice President Joe Biden will be given one etched with an image of the Capitol.
AP National Writer Hillel Italie in New York contributed to this report.


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Food scares may help farmers markets
A string of high-profile food-borne illnesses nationwide may spur more interest in locally grown produce, especially food sold at farmers markets.
One reason: Consumer confidence in supermarket food is at its lowest point since 1989, according to a study by the Food Marketing Institute.
The number of consumers "completely" or "somewhat confident" in the safety of supermarket food has decreased from 82 percent last year to 66 percent this year. The online poll surveyed 2,307 shoppers.
"It really opened our eyes. I can't say it was that surprising. It was obviously in the news for a very long time and there were other outbreaks," said Bill Greer, a spokesman for the Food Marketing Institute based in Arlington, Va., which represents retailers and wholesalers who bring in three-fourths of the nation's retail food sales.
The survey also found that 38 percent of consumers stopped purchasing certain foods in the past 12 months, up from 9 percent in 2006. Americans ditched spinach, lettuce and bagged salad the most.
Lessening the scare
Farmer Bill Girling sells asparagus, pumpkins, berries, green beans and tomatoes from his orchard and farm in the Rockford, Ill., area. He soaks the asparagus in a few inches of water, an added touch some supermarkets won't provide, he said. In a farmers market, farmers have direct access to markets to supplement farm income.
"I cut these yesterday afternoon and then last night after the rain. You can't get any fresher than that," he said.
And there is a difference, says Kristine Carlson of Rockford. She says produce at the farmers market is fresher than that at the supermarket.
"I would never buy corn that wasn't picked that day. At a farmers market, it just tastes better," she said.
Most consumers still shop the supermarket, but if there is a chance to buy from local farmers whose produce have been plucked in the last 24 hours, some find it safer.
"There's always going to be a certain amount of things out there that will be recalled, so I can't live my life scared. But if I can buy locally and can buy fresher I will," Carlson said.
Some consumers are motivated by reasons other than safety. Roseanne Morrison of Rockford made a conscious effort to shop for both organic foods and homegrown produce for health reasons. She was rediagnosed with cancer two years ago after a seven-year remission.
Whether the food's coming from the farmers market or grocery store, consumers should ask questions. Morrison asks if pesticides are used and if it's free of hormones and antibiotics. Some store products will have a "USDA Organic" seal.
"It's not like it used to be when food was cleaner and raised on a farm without all the garbage in it. For me, going hormone-free, pesticides-free, it's extremely expensive," but it's worth it, she said.
On the contrary, some nutritional experts have said there's no difference in nutritional value between organic and nonorganic foods.
Greer also shared an opposing opinion.
"Ironically, the growers in California right now are probably adopting the most stringent food safety measures in the country" in light of the outbreaks, he said.
"Just because it's local doesn't guarantee that it's safer necessarily. There are practices that any food supplier has to follow, and that's the key thing."
But farmers market are growing in popularity. The number of farmers markets has increased 18 percent since 1994, according to the U.S. Department of Agriculture.
Grocers working on safety
Greer says the industry is improving food safety through consumer education and rigorous training on food safety practices from the source to the grocery workers.
"What we're trying to do is make sure our suppliers are following the most stringent food safety standards, particularly in regard to fresh-cut produce," he said.
Rowena Vergara may be reached at 815-987-1341 or firstname.lastname@example.com.


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The big event of the weekend is Saturday's Muse 'til Midnight, where LACMA's art and music collide inside LACMA's modern and contemporary galleries. Puro Instinct will be performing inside of our Sun and Other Stars exhibition, Lucky Dragons will be one floor above inside Michael Heizer: Actual Size, while DJs will be cropping up inside Richard Serra's Band and Chris Burden's Metropolis II as well as the The German Woodcut: Renaissance and Expressionist Revival and the modern galleries in the Ahmanson Building. Out in front of Burden's Urban Light, up-and-coming San Francisco band Geographer will perform live, bookended by sets from Dublab Soundsystem. Dublab's second set will be a unique, two-DJs-at-once performance, piped through headphones so you can choose which to dance to during a "silent disco." Tickets are still available and include parking and two drink tickets. Get the full rundown of the night's activities here.
But we're getting ahead of ourselves: tonight, Jazz at LACMA presents saxophonist and bandleader Reinhold Schwarzwald, who will be joined by Grammy-nominated pianist Patrice Rushen. As the sun goes down, mosey with your family from the BP Grand Entrance over to the Dorothy Collins Brown Amphitheater in Hancock Park for a free outdoor screening of the Pixar Shorts Collection Vol. 1 and the best of the Los Angeles International Children's Film Festival.
The free fun in Hancock Park continues on Saturday with Latin Sounds, where Proyecto X will throw down a combination of new and old bachata. Latin Sounds has been one of the can't-miss hits of the summer, and next week's concert will be the last until next year. You don't have many more chances to check it out!
Featured yesterday on Unframed was a Q&A with Japanese artist Ohie Toshio, whose exhibition Ohie Toshio and the Perfection of the Japanese Book is on view now in the Pavilion for Japanese Art. Do you have some of your own questions? Well you're in luck—Ohie will be in the galleries on Sunday at 2pm to talk about his work and answer questions. The event is free with general admission.
Many more exhibitions are on view now, some ending soon. Sharon Lockhart | Noa Eshkol, …Is James Bond, The German Woodcut, and the Munich Rotary portion of Michael Heizer: Actual Size, located in the Resnick Pavilion, will all come off view September 9, so you have just a few more weeks to see them before they're gone.
Finally, one more concert rounds out the weekend: L.A. Symphonic Winds will perform works by Holst and Stravinsky during our free Sundays Live concert series.
Scott Tennent


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Pre-Owned 2020 ChevroletMalibu RS Car
- Exterior Color
- Black Cherry Metallic
- Interior Color
- Jet Black, Premium cloth seat trim
- Odometer
- 26,040 miles
- Fuel Economy
- 29/36 MPG City/Hwy
- Transmission
- Automatic
- Drivetrain
- Engine
- 1.5L Turbo 4-cylinder engine
- Stock Number
Chevrolet Malibu
Detailed Specifications
- Max seating capacity: 5
- Fuel System: Direct Injection
- Fuel tank capacity: 15 gal
- Horsepower: 160
- 4G LTE Wi-Fi® hotspot capable:
- Terms and limitations apply. See onstar.com or dealer for details.
- Terms and limitations apply. See onstar.com or dealer for details.
- 6-speaker audio system:
- Speakers are positioned throughout the cabin for outstanding sound quality and an enjoyable listening experience
- 8" diagonal color touch-screen display
- Antenna, body-color
- Chevrolet Infotainment 3 System with 8" diagonal color touchscreen:
- 8" diagonal color touchscreen1
- Bluetooth®2 audio streaming for 2 active devices for compatible phones
- Voice command pass-through to phone for compatible phones
- Apple CarPlay™ capability for compatible phones3
- Android Auto™ capability for compatible phone4
- 16" steel compact spare wheel
- 18" aluminum wheels
- 245/45R18 all-season blackwall tires:
- May require additional optional equipment
- Acoustic laminated glass:
- Helps keep out traffic and road noises
- Dampens sounds from the outside to help give you a quiet ride
- Automatic on/off headlamps:
- Automatic on/off feature helps illuminate your way when needed, and turns off headlamps automatically when you don't
- Black Cherry Metallic
- Black grille with Chrome surround
- Body-color power outside mirrors:
- Manual folding
- May require additional optional equipment
- Compact spare tire
- Front and rear Black bowtie emblems:
- Replaces front and rear Gold bowtie emblems
- May require additional optional equipment
- Front and rear splash guards:
- Help protect the exterior of your vehicle from tire splash and road debris
- Fit directly behind the wheels
- Halogen headlamps
- Rear spoiler
- 12-volt power outlet
- 6-way manual front passenger seat
- 60/40 split-folding rear bench seat:
- Can fold one or both sides down
- Adds cargo and passenger carrying versatility to your vehicle
- Release located in the trunk
- 8-way power driver seat:
- Includes power lumbar
- Air conditioning:
- Cools and dehumidifies the air inside the vehicle
- Air filter, cabin
- Assist handle, front passenger
- Cargo mat:
- Helps keep the cargo area protected
- Chevrolet Connected Access capable:
- Subject to terms. See onstar.com or dealer for details.
- Cruise control:
- Maintains a selected speed while driving
- Driver Information Center:
- Includes driver personalization, warning messages and vehicle information
- Front and rear all-weather floor liners:
- Custom-designed, raised sides provide maximum carpet coverage and moisture barrier to help keep mud, snow, and debris contained for easy cleaning
- Help protect against future wear from everyday use
- Front bucket seats
- Front carpeted floor mats:
- Helps protect your interior from road debris and the elements
- Engineered to fit your vehicle
- Inside rearview manual day/night mirror:
- Adjust the tilt of the mirror to help reduce glare during nighttime driving
- Jet Black, Premium cloth seat trim
- Keyless Open:
- With the key fob in your possession, locks and unlocks your vehicle's doors without having to use the key fob, increasing convenience
- Lockout protection helps you avoid locking keys in the vehicle
- Keyless Start:
- Uses an integrated key fob sensor instead of a traditional key
- Keep your keys in your purse or pocket to start your vehicle
- Leather-wrapped shift knob:
- May require additional optional equipment
- Leather-wrapped steering wheel:
- May require additional optional equipment
- Lighting, interior overhead courtesy lamp, dual reading lamps and illuminated trunk area
- Manual tilt and telescoping steering column:
- Allows the driver to adjust the steering wheel up or down, and the steering column forward or back
- Map pockets, driver and front passenger seatbacks
- Outside temperature display
- Power door locks:
- Programmable
- Power driver seat lumbar control:
- Lumbar area expands and retracts to provide lower back support
- Power windows:
- One-touch driver and all passengers express-down
- Rear carpeted floor mats:
- Helps protect your interior from road debris and the elements
- Engineered to fit your vehicle
- Rear seat armrest:
- With cupholders
- Rear window defogger:
- Helps to keep your rear view clear of fog or frost
- Utilizes a warming grid to help remove fog or frost from the rear window
- Remote Start Kit:
- Start your vehicle remotely and step into a comfortably warmed or cooled vehicle, depending on the weather and your preset preferences
- Locks doors and turns on parking lamps while the engine is running
- May require additional optional equipment
- Remote panic alarm
- Seat trim, Premium Cloth
- Steering-wheel mounted controls:
- Allow the driver to easily operate the audio system, phone interface, cruise control and Driver Information Center controls
- Theft-deterrent system, content theft alarm
- Trunk cargo anchors
- Visors, driver and front passenger vanity mirrors, covered
- Warning indicator, front passenger seat belt
- 1.5L Turbo 4-cylinder engine:
- 4-cylinder dual overhead cam design with Direct-Injection and Variable Valve Timing (VVT)
- 160 hp @ 5700 rpm
- 184 lb-ft of torque @ 2500-3000 rpm
- 4-link rear suspension:
- Uses a 4-link setup with gas-charged struts and coil springs that absorb road irregularities and isolate them from the cabin
- A rear stabilizer bar helps ensure precise handling while cornering and driving through road curves
- 4-wheel antilock disc brakes:
- Help reduce wheel lockup and maintain steering control during hard braking on most slippery surfaces
- Axle, 5.10 final drive ratio
- Brake lining, high-performance, noise and dust performance
- Capless fuel fill:
- Helps keep your hands clean of dirt and fuel during fill ups
- Prevents paint scratches that can result from a tethered fuel cap
- Includes a funnel adapter for adding fuel from a portable gas can
- Continuous Variable Transmission (CVT)
- Dual-outlet exhaust:
- Polished tips
- DuraLife® brake rotors:
- Can provide enhanced resistance to corrosion to help increase rotor life, minimize brake pulsation, and improve aesthetic appearance
- Front and rear
- Emissions, Federal requirements
- Engine control, stop-start system
- Front wheel drive
- Fuel door, push open
- MacPherson strut front suspension:
- Features gas-charged struts and a stabilizer bar
- Manual parking brake
- Tool kit, road emergency
- RS Preferred Equipment Group includes standard equipment
- Weather Protection Package 2:
- Remote start kit
- Cargo mat
- Front and rear splash guards
- Daytime Running Lamps
- 10 airbags:
- Frontal airbags for driver and front passenger1
- Knee airbags for driver and front passenger1
- Seat-mounted side-impact airbags for all outboard seating positions1
- Head-curtain airbags for all rows in outboard seating positions1
- Includes Passenger Sensing System which automatically switches the front passenger seat frontal airbag and knee airbag on or off and illuminates a status light that indicates whether the airbags are on or off1
- LATCH system (Lower Anchors and Tethers for CHildren), for child restraint seats
- OnStar® & Chevrolet Connected Services capable:
- Terms and limitations apply. See onstar.com or dealer for details.
- Rear Seat Reminder:
- Helps to remind the driver to check the back seat(s) before leaving the vehicle1
- Activates when rear doors are opened and closed up to 10 minutes before or anytime while your vehicle is on
- Under certain conditions, once the vehicle is switched off, designed to sound 5 audible chimes and display a visual message within the Driver Information Center
- Activates only once each time the vehicle is turned on and off, and would require re-activation on a second trip
- Rear Vision Camera:
- When in Reverse at low speeds, provides you a view of the scene directly behind the vehicle on the Infotainment screen to help you park and avoid nearby objects1
- Rear child security door locks:
- When activated, prevents passengers from opening the rear doors from inside the vehicle
- Allow rear doors to open from outside of the vehicle only
- Teen Driver:
- This configurable feature lets you activate customizable vehicle settings associated with a key fob to help encourage better driving behavior1
- It can limit certain vehicle features, and automatically turns on certain safety systems if vehicle is equipped1
- An in-vehicle report card gives you information on driving habits and helps you to continue to coach your new driver1
- Tire Pressure Monitoring System:
- Monitors the pressure in each tire and alerts you if there is a low-pressure condition in one or more of the tires1
- Trunk latch, safety, manual release
- Electronic Grade Braking:
- Helps the driver maintain a constant speed without having to ride the brakes while the vehicle is heading downhill
- StabiliTrak, electronic stability control system with traction control:
- Automatically helps enhance control, particularly during emergency maneuvers, by adjusting the brakes and engine torque to help you stay on your intended path
- Includes Traction Control that detects wheel slippage and applies brake pressure and/or reduces engine power to help the driver maintain control when accelerating on wet or snow-covered roads
- Includes Brake Assist that senses how hard and fast a driver hits the brake pedal and gives extra braking assistance, if required
Dealer Notes
KBB.com Consumer Reviews
- 5.0
Quiet, Comfortable, Sooth & Well Designed
By Vivo on Monday, January 01, 2018I love the 2017 Chevy Malibu. This is the quietest car I have ever driven. Its so smooth on the highway. The car seems to naturally stay in its lane. The brakes are great. The car is very fuel efficient and will delivery about 45-mpg at 60-mph. The 1.5 liter Lt is not a race car, but has plenty of power and can easily execute quick maneuvers in traffic. Its really the best car in its class.
- 5.0
best economy class American on the market
By jay on Monday, September 21, 2020I got this car used at a very good low price for 20,000 miles. I got it to get off a bad lease and I was set to replace it later on. 3 years later this car has just been amazing and very reliable. It's not a fully equipped luxury ride but it's got all I need. The engine performs great. I only had one mechanical issue but GM issued a recall service notice and refunded me dollar for dollar. I have put over 65k on it and I see no reason to replace it
- 5.0
Nice car
By Dante on Wednesday, November 11, 2020Clean car inside out no damage no lights on runs and drive great
New Arrivals
2021 Chevrolet Silverado 1500…
- Please Call
Quick Specs
- Truck
- Black Exterior
- 5.3L EcoTec3 V8 engine Engine
2018 Chevrolet Silverado 1500…
- Please Call
Quick Specs
- Truck
- Silver Exterior
- 5.3L EcoTec3 V8 engine Engine
2023 Chevrolet Blazer 2LT SUV
- Please Call
Quick Specs
- White Exterior
- 2.0L Turbo 4-cylinder engine Engine


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Brooklyn: Fix Your Own Bike Workshop 6:00-8:30pm
Event Date/time:
Sun, 06/09/2019 - 6:30pm
End time:
Join us at our Brooklyn space at 99 South 6th Street, in Williamsburg between 6:00 to 8:30pm on Sundays and Wednesdays for our 'Fix Your Own Bike Workshop.'
Open shop--you use our tools and stands to work on your bike. Experienced mechanics will be present to answer questions, but you do the work.
Bike workshops are free, but we strongly encourage you to make a donation or become a Time's Up! member to help support our efforts.
If you have a big project please be considerate of the time and plan ahead.


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Whisenhunt created the Cardinals' current quarterback conundrum
Rarely does a sporting event live up to its pre-game billing, but the Cardinals' visit to New York did exactly that.
This game, which the Jets "won" by a score of 7-6, was every bit as poorly played as we thought it would be. In fact, it may have even been more pathetic than anticipated.
The Jets' Mark Sanchez threw three interceptions. The Cardinals' longest play from scrimmage was a fake punt. And Ryan Lindley, the Cardinals' latest in a long list of disasters at quarterback, completed 10-of-31 passes for 72 yards and one interception.
Sanchez was benched in the third quarter; Lindley played the entire game. Sanchez's replacement threw the game-winning touchdown pass. As for Lindley?
"You look at it and you say he's got to play better, and he does," Cardinals coach Ken Whisenhunt told the Arizona Cardinals Radio Network after the game. "If he wants to be the quarterback of this team he's got to play better than that, and I think he understands that."
There's little doubt Lindley would like to be the team's quarterback, and who knows, maybe in time he will be. But right now it's obvious he's not anywhere close to being ready for the job. The coaching staff recognized that, too, and considered making a change Sunday afternoon.
"But at the time where we were, the way he talked on the sideline and was handling what he needed to handle as the quarterback and then he made the good throw to Michael (Floyd) on the sideline after we got the turnover there late," the coach said, adding he thought the Cardinals were going to score a touchdown on the fourth quarter drive instead of having to settle for a Jay Feely field goal. "You consider all those things and you ultimately go with what you think gives you the best chance to win."
Lindley completed less than 1/3 of his passes and averaged fewer than three yards per attempt. The Cardinals went 0-for-15 on third down and moved the chains just five times. And yet, he gave the team the best chance to win?
If Lindley gives the team its best chance to win, one must wonder what the prize is. After all, it's too late to suck for Luck.
Anyway, it's the same baseless claim the coach had when he replaced John Skelton in Atlanta with a lead, after Lindley's pair of pick-sixes cost Arizona a chance to beat the Rams, and now after the rookie put forth a miserable effort in the Big Apple.
Either Whisenhunt is lying to us, and he really has given up on the season and is rolling with the rookie with an eye towards the future, or he's just clueless when it comes to the quarterback position.
Both options are currently still on the table.
The Cardinals coach is backed into a corner with this one. Kevin Kolb may be ready to come back, but what good comes from giving him the starting job with the playoffs out of reach and the QB not likely to return next season? It would be tough to turn back to Skelton, a third-year player who likely has little confidence left after the coach turned his back on him with a 10-point lead just a few short weeks ago. Like Kolb, Skelton is not likely to return in 2013.
And Lindley, a sixth-round pick who has no business playing right now but will be back next year, has shown nothing that would make someone think the team will win any of the final four games with him under center.
What's a coach to do?
Deal with the mess he made and suffer the ramifications.
It's been said that Whisenhunt is one of the game's best and smartest coaches, and it's easy to see why.
After all, he guided the Cardinals to the Super Bowl, and was well-respected enough that Peyton Manning paid the franchise a visit last March when he was looking for a new team.
However, with Whisenhunt's smarts have come a certain level of confidence that, unfortunately, has led to some questionable decisions over the last few seasons.
Is it a case of "I'm smarter than you, and I'm going to prove it?"
Kind of looks that way.
What else would you call Whisenhunt's decision to turn to Derek Anderson and Max Hall in 2010? Why else would the Cardinals trade for Kolb and ask him to fit the offense instead of adapting the offense to fit the QB?
And how else could someone interpret the reactionary decision to bench a struggling-but-winning Skelton in favor of a rookie who, through no fault of his own, has no business being on the field right now?
Quarterback controversies are fun; quarterback ineptitude is painful to watch.
And when the issues are created by a head coach who seems unable to fix things?
There's really only one thing to do.
The last time the Arizona Cardinals lost eight-straight games was 2006, when the team was breaking in a first-round draft pick named Matt Leinart. The slide was embarrassing, and it helped usher Dennis Green out of town.
Ken Whisenhunt is a better coach than Green, but at this point it's tough not to expect him to suffer a similar fate.


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NEW YORK » Cookie Monster stands accused of shoving a 2-year-old. Super Mario was charged with groping a woman. And Elmo was booked for berating tourists with anti-Semitic slurs.
Times Square is crawling with entrepreneurs who dress up as pop-culture characters and try to make a few bucks posing for photos with visitors to the big city. But some of these characters are unlike anything you've seen on "Sesame Street" or at Disney World.
They smoke, they use foul language, and they can be aggressive. At least three of them have been arrested in the past seven months.
"He was using words that were really bad," said Parmita Kurada of Stamford, Conn., who told police she got into a dispute this week with a man in a Cookie Monster costume who demanded $2 for posing with her 2-year-old son, Samay.
Kurada said that when she told the Cookie Monster that her husband needed to get cash, the shaggy blue creature pushed the boy and began calling her and the child obscene names.
"It was very scary for us, and I was crying. I didn't want to provoke him, so I said, 'We'll give you the money, but stop yelling!'" she said.
Osvaldo Quiroz-Lopez, 33, was charged with assault, child endangerment and aggressive begging. His lawyer did not immediately return a call for comment.
Asked by a WNBC-TV reporter why he no longer likes the character he sees on "Sesame Street," little Samay said: "Because Cookie Monster give me boo-boo."
In the wake of the latest arrest, the bustling "Crossroads of the World" was filled today with performers, including multiple versions of Mickey and Minnie Mouse, Hello Kitty, a Transformer robot, Lady Liberty, Super Mario and Elmo.
Many of them are immigrants trying to eke out a living in what appear to be knockoff costumes.
As street performers protected by the First Amendment, they are free to roam Times Square and work for tips that average between $2 and $5 a photo as long as they don't block traffic, sell merchandise or demand payment, police say. That's a ticketable offense that can cost about $60.
"I don't think they should charge, but if they're unemployed or homeless, and this is the only way they can make money, it's OK," said Lauren Larcara of Oakland, N.J., who posed with a torch-carrying Statue of Liberty.
Laura Vanegas, a 45-year-old native of Ecuador, changes into her Liberty robes and applies copper-green face paint behind the Times Square military recruiting station. She said she picks up $30 to $50 on her eight-hour shift.
Steve Crass, dressed as a robot in fluorescent red and white plastic panels, said he has made as much as $280 during his six-hour stint in front of Toys R Us. He acknowledged: "Some of the characters are a little too aggressive."
Police spokesman Paul Browne said in an email that the department has had "occasional issues with the 'faux paws' in Times Square, but they're nominal."
The case against the Super Mario charged with groping is still pending. The Elmo accused of an anti-Semitic rant pleaded guilty in September to disorderly conduct and was sentenced to two days of community service.
City Council Speaker Christine Quinn called the Cookie Monster case "just horrible" and said lawmakers have been looking into how to regulate the characters. But she noted the issue is, well, fuzzy.
"It's very challenging legally because dressing up in a costume and walking around Times Square is, we believe, a First Amendment-protected activity," said Quinn, a candidate to be New York's next mayor.
Similar cases of misbehavior by costumed performers have been reported in Hollywood.
Disney did not respond to a request for comment, while the Sesame Workshop, the organization behind "Sesame Street," said it has not authorized such uses of any its characters in any city and is looking into what actions it can take.
Anthony Elia, a New York lawyer in the intellectual-property field, said the entertainment groups probably have a case for trademark infringement, but "the challenge probably would be getting a bunch of self-employed entrepreneurial individuals to stop."
It's not the easiest way to make a living. On a day when temperatures pushed 80, they sweated in their outfits, coming out from under their oversized costume heads only to grab a hot dog or a smoke. When one posed for a photo, two or three others dashed over and joined in.
"Want to take a picture?" a furry red Elmo asked a tourist. Moments later, he declined to speak to a reporter, saying through his costume, "I no speak English."
A Minnie Mouse offered a toddler in a stroller her hand and positioned herself at the handlebar. A Super Mario rushed over to join her.
"She said, 'Can you give us money?'" said the child's mother, Melanie Somogyi of Hamilton, Ontario. "And they grabbed the stroller!"
AP reporters Colleen Long, Karen Matthews and Jennifer Peltz in New York contributed to this report.